The Tree of Memory

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MANON
CLASSROOM ACTIVITY
The Tree of Memory
ALL MEMORIES
Declarative Memory
Memories you can talk about
Autobiographical
Memory
Memories of your own
experiences (also called
“episodic”)
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Semantic Memory
Information you’ve
heard, seen, read
about, etc., such as
facts, explanations, and
stories, true or fictional
Procedural Memory
“How to” memories, often hard
to put into words
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MANON
CLASSROOM ACTIVITY
Manon’s Recollection
TRACK 1:
MANON: Nous reparlerons du passé.
Du l’auberge, du coche et de la route ombreuse.
Du billet par ta main tracé, de la petite table
Et de ta robe noire à Saint Sulpice.
We will talk again about the past,
about the inn, the coach and the shadowy road,
about the letter you wrote by hand, about the little table,
and about your black robes in St. Sulpice.
Ah! j’ai bonne mémoire!
Ah! I remember well!
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MANON
CLASSROOM ACTIVITY
Research Psychologist’s Guide to Scene A
e inn, the coach and the shadowy road
TRACK 2
Manon and des Grieux have just met outside a country inn.
MANON: À vous ma vie et mon âme!
À vous toute ma vie à jamais!
I give you my life and my soul!
I give you my whole life forever!
DES GRIEUX: Enchanteresse!
Manon, vous êtes la maîtresse de mon cœur.
Enchantress!
Manon, you are the mistress of my heart.
What are the characters’ moods here?
What might the sound at the end of the track be?
What evidence do you hear of Manon’s
feelings in the music?
What evidence do you hear of
des Grieux’s feelings in the music?
Which of the words they sing provide evidence?
TRACK 3
Young Manon is supposed to go to a convent
but decides to change her plans.
MANON: Par aventure, peut-être avons-nous mieux:
Une voiture, la chaise d’un Seigneur.
Il faisait les doux yeux a Manon. Vengez-vous!
DES GRIEUX:
MANON:
Mais comment?
Tous les deux, prenons-là!
DES GRIEUX:
Soit, partons!
How does Manon feel about her plan?
How does des Grieux respond?
What evidence do you hear in the voices?
In the music? In the words?
24
By chance, we may have a better alternative:
A coach, owned by a nobleman.
He was making eyes at your Manon. Get back at him!
But how?
Both of us, let’s take it!
So be it, let’s go!
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MANON
CLASSROOM ACTIVITY
Research Psychologist’s Guide to Scene A
TRACK 4
Manon and des Grieux discuss the plan.
MANON:
Et quoi, partir ensemble?
DES GRIEUX:
Oui, Manon! Le ciel nous rassemble!
What, leave together?
Yes, Manon! Heaven has brought us together!
What do you make of Manon’s question?
Why is she asking, if this was her idea?
What evidence do you hear in her voice?
How does des Grieux respond?
How does the music des Grieux sings compare to the music
Manon sings? What might this tell you about their feelings?
TRACK 5
Des Grieux imagines his future with Manon.
DES GRIEUX:
MANON:
Tous les deux!
DES GRIEUX:
MANON:
Tous les deux! Et nos cœurs amoureux
À Paris!
DES GRIEUX:
MANON:
Nous vivrons à Paris .
L’un à l’autre enchaînés.
À Paris!
DES GRIEUX:
Pour jamais réunis.
MANON and DES GRIEUX: Nous n’aurons que des jours bénis! À
Paris! À Paris! Tous les deux! Nous vivrons à Paris, tous les deux!
DES GRIEUX:
Et mon nom deviendra le vôtre! Ah! pardon!
We will live in Paris.
Both of us, together!
Both of us, together! And our loving hearts.
In Paris!
Connected to one another.
In Paris!
United forever.
We will only have blessed days! In Paris! In Paris! Both of us,
together! We will live in Paris, both of us, together.
And my name will become yours! Ah, excuse me!
How does Manon respond to des Grieux?
What does des Grieux feel?
What evidence do you hear in the music
about their view of the future?
What evidence do you find in the words?
25
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MANON
CLASSROOM ACTIVITY
Research Psychologist’s Guide to Scene A
TRACK 6
Manon’s moment of reflection
MANON: Dans mes yeux
Vous devez bien voir
Que je ne puis vous en vouloir
Et cependant c’est mal!
You must be able
to see in my eyes
that I could never blame you.
Yet, this is wrong!
What do you make of Manon’s “Yet…”?
What might she be thinking at this point?
What evidence of her mood do
you hear in the music? ?
What evidence do you find in the words?
TRACK 7
Des Grieux’s response, continued
DES GRIEUX:
MANON:
Tous les deux!
DES GRIEUX:
MANON:
Tous les deux! Et nos cœurs amoureux.
à Paris.
DES GRIEUX:
MANON:
Nous vivrons à Paris.
L’un à l’autre enchaînés.
à Paris.
DES GRIEUX:
Pour jamais réunis.
MANON and DES GRIEUX: Nous n’aurons que des jours bénis!
À Paris! À Paris! Tous les deux! Nous vivrons à Paris,
tous les deux!
How do Manon and des Grieux feel now?
What evidence in the music supports your conclusion?
Is the same message conveyed in the words?
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We will live in Paris.
Both of us, together!
Both of us, together! And our loving hearts.
In Paris.
Connected to one another.
In Paris.
United forever.
We will only have blessed days!
In Paris! In Paris! Both of us, together! We will live in Paris,
both of us, together!
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MANON
CLASSROOM ACTIVITY
Research Psychologist’s Guide to Scene A
TRACK 8
The Escape
MANON:
Ce sont elles!
DES GRIEUX:
That’s them!
Qu’avez-vous?
What’s the matter?
POUSETTE, JAVOTTE, and ROSETTE: Revenez, Guillot, revenez! Vous
allez vous casser le nez! Revenez donc, Guillot! Ha ha ha!
LESCAUT:
Ce soir, vous rendrez tout au cabaret voisin!
DES GRIEUX:
MANON:
Là?
Viens! Partons!
POUSETTE, JAVOTTE, and ROSETTE:
Revenez, Guillot, revenez,
Combien ce doit être amusant de s’amuser toute une
vie!
MANON and DES GRIEUX:
That’s my cousin’s voice!
Come on! Let’s go!
revenez! Ha ha ha!
MANON:
This evening, you’ll give it all back to me at the inn!
There?
C’est la voix de mon cousin!
DES GRIEUX:
Come back, Guillot, come back! You’re going to get
your nose bent! So come back, Guillot! Ha ha ha!
Ah! Partons!
Come back, Guillot, come back.
Ha ha ha!
How much fun it must be to have fun your whole
life!
Let’s go!
Why do the three women, Pousette, Javotte
and Rosette, call out to Guillot?
Does Manon understand their motivation?
How would you describe their attitude,
based on the music they sing?
What’s on Manon’s mind as she and
des Grieux take off for Paris?
Do you think Manon and des Grieux will
be thinking about the same things as
they ride through the night to Paris?
What evidence in Manon’s words
supports your point of view?
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MANON
CLASSROOM ACTIVITY
Research Psychologist’s Guide to Scene B
Des Grieux’s letter and the little table
TRACK 9
Months after running off to Paris on the day
Manon was to enter a convent, des Grieux
and Manon are in their apartment.
MANON: Oui, je lisais sur votre épaule
Et j’ai souri, voyant passer mon nom!
Yes, I was reading over your shoulder.
And I smiled, seeing my name.
DES GRIEUX: J’écris à mon père et je tremble
Que cette lettre, où j’ai mis tout mon cœur,
Ne l’irrite.
I’m writing to my father, and I’m trembling,
hoping that this letter, which I’ve put my entire heart into,
won’t annoy him.
MANON:
Vous avez peur?
DES GRIEUX:
MANON:
Oui, Manon, j’ai très peur!
Eh bien! Il faut relire ensemble!
DES GRIEUX:
Oui, c’est cela, ensemble, relisons!
Who sounds more confident about their
situation, Manon or des Grieux?
What evidence of a difference do
you hear in the music?
What evidence do you find in the words?
What consequence does des Grieux fear,
if his letter irritates his father?
How does his mood change when Manon
proposes they reread the letter?
What do you hear in the music to
confirm your observation?
28
You’re afraid?
Yes, Manon, I’m very afraid!
Well, then we have to reread it together!
Yes, that’s it, together, let’s reread it!
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MANON
CLASSROOM ACTIVITY
Research Psychologist’s Guide to Scene B
TRACK 10
Des Grieux’s letter
MANON: On l’appelle Manon, elle eut hier seize ans.
En elle tout séduit la beauté, la jeunesse,
La grâce; nulle voix n’a de plus doux accents,
Nul regard plus de charme avec plus de tendresse.
DES GRIEUX:
Nul regard plus de charme avec plus de tendresse!
MANON: Est-ce vrai? Moi, je n’en sais rien;
Mais je sais que vous m’aimer bien!
DES GRIEUX:
Vous aimer? Vous aimer? Manon! Je t’adore!
Her name is Manon. Yesterday she turned 16.
Everything about her is bewitching: her beauty, her youth,
her grace. No voice is sweeter,
no face is more charming or more tender.
No face is more charming or more tender!
Is that true? I didn’t know you thought that—but I do know
you like me!
Like you? Like you? Manon! I adore you!
What do you think of des Grieux’s letter?
How does it make Manon feel?
What evidence of her feelings do
you hear in the music?
How does des Grieux respond to her?
Would you say the music he sings
conforms with his words? Why?
TRACK 11:
MANON:
Allons, Monsieur! lisons encore!
DES GRIEUX: Comme l’oiseau qui suit en tous lieux le printemps,
Sa jeune âme à la vie. Sa jeune âme est ouverte sans cesse;
Sa lèvre en fleur sourit et parle au zéphyr parfumé qui passe
et la caresse!
MANON and DES GRIEUX:
MANON:
Au zéphyr parfumé qui passe et la caresse!
Il ne te suffit pas alors de nous aimer?
Let’s go, Sir! Let’s read more!
Like the birds that seek out the springtime,
her young soul faces the world. Her young soul is endlessly
open. Her lips smile and speak like flowers that the perfumed
breeze passes and caresses!
That the perfumed breeze passes and caresses!
But isn’t it enough for us to love each other?
What are Manon’s feelings aKer reading the letter?
What evidence do you hear in the music?
Do her words add any evidence? How?
What might des Grieux feel, hearing her last comment?
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MANON
CLASSROOM ACTIVITY
Research Psychologist’s Guide to Scene B
TRACK 12
Des Grieux responds to Manon’s last comment
MANON:
Il ne te suffit pas alors de nous aimer?
DES GRIEUX:
MANON:
Tu le veux?
DES GRIEUX:
MANON:
Non! Je veux que tu sois ma femme!
Je le veux, et de toute mon âme!
Embrasse-moi donc, chevalier! Et va porter ta lettre!
DES GRIEUX:
Oui, je cours la porter!
But isn’t it enough for us to love each other?
No! I want you to be my wife!
You want that?
I want it with all my heart!
Kiss me, then, Sir! And go mail your letter!
Yes, I’m running to mail it!
Why does Manon tell des Grieux to go mail the letter?
How do they feel now?
What evidence do you hear in the music Manon sings?
In the music des Grieux sings?
TRACK 13
As des Grieux is about to leave, he sees something and
stops.
DES GRIEUX: Voilà des fleurs qui sont fort belles; d’où te vient ce
bouquet, Manon?
MANON:
Je ne sais pas.
DES GRIEUX:
Comment, tu ne sais pas?
MANON: Beau motif de querelles! Par la fenêtre, on l’a lancé
d’en bas.
Do you believe Manon? Why or why not?
Do you hear evidence in the music she sings?
What evidence do you find in her words?
What evidence do des Grieux’s words provide?
30
Those are some very beautiful flowers there— where did you
get that bouquet, Manon?
I don’t know.
What do you mean you don’t know?
Nice way to start a quarrel! Someone threw them through the
window from down below.
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MANON
CLASSROOM ACTIVITY
Research Psychologist’s Guide to Scene B
TRACK 14
Several minutes later, Manon’s cousin has arrived, together
with the wealthy de Brétigny—in disguise. Cousin Lescaut
and des Grieux are off discussing des Grieux’s intention to
marry Manon. Manon talks with de Brétigny.
MANON:
Venir ici sous un déguisement!
DE BRÉTIGNY:
MANON:
Vous m’en voulez?
Certainement. Vous savez que c’est lui que j’aime.
DE BRÉTIGNY: J’ai voulu vous avertir, moi-même,
Que ce soir de chez vous on compte l’enlever.
MANON:
Ce soir?
DE BRÉTIGNY:
MANON:
Par ordre de son père!
Par ordre de son père!
DE BRÉTIGNY:
Oui. Ce soir ici-même on viendra l’arracher.
To come here in disguise!
Are you mad at me?
Certainly. You know it’s him that I love.
I wanted to warn you myself that this evening, they’re
planning to take him out of your home.
This evening?
By his father’s order!
By his father’s order!
Yes. This very evening they’re coming to snatch him.
Do you get the sense that Manon
knows de Brétigny? Why?
Why might de Brétigny have come in disguise?
How might his news make Manon feel?
What does the music tell you about their relationship?
Do the words provide any evidence
that Manon is surprised? How?
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MANON
CLASSROOM ACTIVITY
Research Psychologist’s Guide to Scene B
TRACK 15
What de Brétigny has in mind
MANON:
Ah! Je saurai bien empêcher!
Prévenez-le, c’est la misère
Pour lui, pour vous.
Ne le prévenez pas,
Et c’est la fortune, au contraire,
Qui vous attend.
DE BRÉTIGNY:
MANON:
Parlez plus bas!
What do you think it is that de Brétigny is suggesting?
Does the music provide supporting evidence?
Why does Manon ask him to speak more soKly?
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Ah! I know exactly how to prevent that!
Warn him and it’s going to be misery
for him, for you.
Don’t warn him
and, to the contrary, fortune awaits you.
Speak more softly!
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MANON
CLASSROOM ACTIVITY
Research Psychologist’s Guide to Scene B
TRACK 16
Moments later. Notice that Lescaut and des Grieux are
talking on one side of the apartment, Manon and de
Brétigny on the other.
DE BRÉTIGNY:
MANON:
Parlez plus bas!
DE BRÉTIGNY:
MANON:
DES GRIEUX:
LESCAUT:
Voici l’heure prochaine de votre liberté!
Parlez plus bas!
DE BRÉTIGNY:
MANON:
Manon! Manon!
Manon! Voici l’heure prochaine de votre liberté!
(on the other side of the room) C’est que je l’adore!
Speak more softly!
The hour of your freedom is here.
Speak more softly!
Manon! The hour of your freedom is here.
It’s that I adore her!
Quel doute étrange et quel tourment!
What strange doubt and what torment.
(to des Grieux) Vous l’épousez?
Are you going to marry her?
DE BRÉTIGNY: Manon! Manon! Bientôt vous serez reine, reine
par la beauté!
MANON:
Manon! Manon!
Dans mon cœur troublé quel délire!
DES GRIEUX: (to Lescaut) Laissez-moi vous le dire encore! C’est
que je l’adore!
DE BRÉTIGNY:
(to Manon) C’est la fortune!
Manon! Manon! Soon you are going to be queen, queen,
thanks to your beauty.
What delirium in my troubled heart!
Let me tell you again: I adore her!
It’s fortune!
How would you describe Manon’s state of mind?
How do you think des Grieux feels right now?
What do you think Manon will decide to do?
What evidence of her mood do you hear in the music?
In her words?
33
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MANON
CLASSROOM ACTIVITY
Research Psychologist’s Guide to Scene B
TRACK 17
Lescaut and de Brétigny have left. Des Grieux has finally gone to mail his letter. Manon
is alone in the apartment. (Listen to both tracks before answering the questions.)
Allons!... il le faut! pour lui-même!
Mon pauvre chevalier! Oh! Oui, c’est lui que j’aime!
Et pourtant, j’hésite aujourd’hui!
Non! non! je ne suis plus digne de lui!
MANON:
J’entends cette voix qui m’entraîne contre ma volonté:
“Manon, tu seras reine, reine par la beauté!”
Je ne suis que faiblesse et que fragilité.
Let’s go! It must be, for him!
My poor knight. Oh! Yes, it’s him I love!
And yet, I hesitate today!
No! No! I don’t deserve him!
I hear this voice pulling me against my will:
“Manon, you will be queen—queen, thanks to your beauty!”
I am nothing but weakness and fragility.
Ah! malgré moi je sens couler mes larmes
Devant ces rêves effacés!
L’avenir aura-t-il les charmes
De ces beaux jours déjà passés?
Ah, in spite of myself I feel my tears flowing,
in front of these erased dreams!
Will the future have the charm
of these beautiful days already gone?
Adieu, notre petite table,
Qui nous réunit si souvent!
Adieu, notre petite table,
Si grande pour nous cependant!
Ou tient, c’est inimaginable,
Si peu de place en se serrant.
Farewell, our little table,
who brought us together so often!
Farewell, our little table,
yet big enough for us.
We needed so little space,
holding each other—it’s unimaginable.
Un même verre était le nôtre,
Chacun de nous, quand il buvait,
Y cherchait les lèvres de l’autre.
Ah! Pauvre ami, comme il m’aimait!
Adieu, notre petite table, adieu!
We shared the same glass.
Each of us, when we drank,
looked for the lips of the other there.
Ah, poor friend, how he loved me!
Farewell, our little table, farewell!
TRACK 18
C’est lui! Que ma pâleur ne me trahisse pas!
What do you think Manon has decided?
What might be her reasoning?
Do you think she will tell des Grieux
what is about to happen?
How might she feel about the
letter he has gone to mail?
Why might she remember the little table years later?
Does the music she sings express her feelings? How?
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That’s him! My pallor had better not betray me!
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MANON
CLASSROOM ACTIVITY
Research Psychologist’s Guide to Scene C
Des Grieux at St. Sulpice
TRACK 19
Months after Scene B, Manon has risen to the top of Paris
society. She flaunts her beauty, her expensive clothes, her
jewelry. But when she hears that des Grieux has decided to
enter the priesthood, she hurries to his church, St. Sulpice.
DES GRIEUX:
MANON:
Toi! Vous!
Oui, c’est moi! Moi!
DES GRIEUX:
Que viens tu faire ici? Va-t-en!
You! You!
Yes, it’s me! Me!
What did you come here to do? Go away!
Though it’s hard to translate into English, des Grieux’s first line here is significant. “Toi” and “tu” are words a French speaker uses
when addressing someone he’s close with. “Vous” is used to address strangers or more distant acquaintances.
Why might des Grieux go from “toi” to “vous”?
Why might he return to “tu”?
What evidence do you hear in the
music about his feelings?
35
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MANON
CLASSROOM ACTIVITY
Research Psychologist’s Guide to Scene C
TRACK 20
The confrontation continues
DES GRIEUX:
Va-t-en! Éloigne-toi!
MANON: Oui! Je fis cruelle et coupable!
Mais rappelez-vous tant d’amour!
Ah! Dans ce regard qui m’accable,
Lirai-je mon pardon, un jour?
DES GRIEUX:
Éloigne-toi!
Go away! Get out!
Yes! I was cruel and guilty!
But you remember so much love!
Ah, in the face that condemns me,
might I read my pardon one day?
Get out!
MANON: Ah! Dans ce regard qui m’accable,
Lirai-je mon pardon, un jour?
Ah, in the face that condemns me,
might I read my pardon one day?
DES GRIEUX: Non! J’avais écrit sur le sable
Ce rêve insensé d’un amour.
Que le ciel n’avait fait durable,
Que pour un instant, pour un jour!
No! This mad dream of a love
that was written in the sand,
a love that heaven made last
but for an instant, for a day!
MANON: Oui! Je fus cruelle!
Oui! Je fus coupable!
Yes! I was cruel!
Yes! I was guilty!
DES GRIEUX: Que le ciel n’avait fait durable,
Que pour un instant, pour un jour!
Ah! Perfide Manon!
A love that heaven made last
but for an instant, for a day!
Ah! Deceitful Manon!
MANON:
Si je me repentais?
DES GRIEUX:
MANON:
Ah! Perfide! Perfide!
Est-ce que tu n’aurais pas de pitié?
DES GRIEUX: Je ne veux pas vous croire.
Non! Vous êtes sortie enfin de ma mémoire,
Ainsi que de mon cœur!
What do you make of Manon’s
confession of cruelty and guilt?
What might be going through des Grieux’s mind
as he insists he has forgotten Manon?
How do you hear their feelings expressed
in the music of their duet?
How does the music communicate Manon’s viewpoint?
How does it express des Grieux’s viewpoint?
36
And if I have repented?
Ah! Deceitful! Deceitful!
Would you have no pity?
I don’t want to believe you.
No! You are finally out of my memory,
and therefore out of my heart!
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MANON
CLASSROOM ACTIVITY
Research Psychologist’s Guide to Scene C
TRACK 21
Manon fights on.
MANON: Hélas! L’oiseau qui fuit
ce qu’il croit l’esclavage,
le plus souvent la nuit,
d’un vol désespéré
revient battre au vitrage!
Pardonne moi!
DES GRIEUX:
MANON:
Non!
Je meurs à tes genoux!
Ah! Rends moi ton amour, si tu veux que je vive!
DES GRIEUX:
MANON:
Non! il est mort pour vous!
L’est il donc à ce point que rien ne le ravive?
Alas! The bird that flees
what it believes to be slavery,
more often than not,
comes back at night in desperate flight,
beating against the window!
Forgive me!
No!
I am dying at your feet!
Ah! Give me back your love, if you want me to live!
No! Our love is dead!
So it is at the point where nothing can revive it?
What might Des Grieux make of Manon’s
metaphor of a bird that believes it is in prison?
What might he make of her talk about dying?
Does the music Manon sings suggest that
she is trying a different approach? How?
37
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MANON
CLASSROOM ACTIVITY
Research Psychologist’s Guide to Scene C
TRACK 22
MANON: Écoute-moi! Rappelle-moi!
N’est-ce plus ma main que cette main presse?
N’est-ce plus ma voix?
N’est-elle pour toi plus une caresse,
Tout comme autrefois?
Et ces yeux, jadis pour toi pleins de charmes,
Ne brillent-ils plus à travers mes larmes?
Ne suis-je plus moi? N’ai je plus mon nom?
Ah! regarde-moi! Regarde-moi! N’est-ce plus Manon?
DES GRIEUX:
MANON:
O Dieu! Soutenez moi dans cet instant supreme!
Je t’aime!
DES GRIEUX: Ah! Tais-toi! Ne parle pas d’amour ici,
c’est un blaspheme!
MANON:
Je t’aime!
DES GRIEUX:
MANON:
Je t’aime!
DES GRIEUX:
MANON:
C’est l’heure de prier!
Non, je ne te quitte pas!
DES GRIEUX:
MANON:
Ah! Tais-toi! Ne parle pas d’amour!
On m’appelle là-bas!
Non, je ne te quitte pas!
Has Manon changed her approach?
Does she feel confident in herself?
What evidence do you hear in the music she sings?
38
Listen to me! Tell me!
Is this no longer my hand that presses against yours?
Is this no longer my voice?
Is this no longer a caress for you, just as before?
And these eyes,
once full of charm for you,
do they no longer shine through my tears?
Am I no longer me? Is my name no longer the same?
Ah! Look at me! Look at me! Is this no longer Manon?
O Lord! Support me at this decisive moment!
I love you!
Ah! Be quiet! Don’t speak of love here—
it’s blasphemy!
I love you!
Ah! Be quiet! Don’t speak of love here!
I love you!
It’s time to go pray!
No, I will not leave you!
They’re calling me!
No, I will not leave you!
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MANON
CLASSROOM ACTIVITY
Research Psychologist’s Guide to Scene C
TRACK 23
MANON: Viens! N’est-ce plus ma main que cette main presse,
tout comme autrefois?
DES GRIEUX:
Tout comme autrefois!
MANON: Et ces yeux, jadis pour toi pleins de charmes,
N’est-ce plus Manon?
DES GRIEUX:
Tout comme autrefois!
MANON: Ah! regarde-moi! Ne suis-je plus moi?
N’est-ce plus Manon?
DES GRIEUX:
Ah! Manon! Je ne veux plus lutter contre moi
même!
MANON:
Enfin!
Just as before!
And these eyes, once full of charm for you,
Is this no longer Manon?
Just as before!
Ah! Look at me! Am I no longer me?
Is this no longer Manon?
Ah! Manon! I don’t want to struggle against myself
anymore!
Finally!
DES GRIEUX: Et dussè-je sur moi
faire crouler les cieux.
Ma vie est dans ton cœur!
Ma vie est dans tes yeux!
Ah! viens! Manon, je t’aime!
MANON and DES GRIEUX:
Come on! Is this no longer my hand that presses against yours,
just as before?
Je t’aime!
And even if it means I will bring
the heavens crashing down on me,
My life is in your heart!
My life is in your eyes!
Ah, come here, Manon—I love you!
I love you!
How would you describe the scene you
have just witnessed? A happy ending?
How do you think Manon feels?
How do you think des Grieux feels?
How does the music represent the
change in his state of mind?
39
THE MET: LIVE IN HD
MANON
CLASSROOM ACTIVITY
Memory Assessment Inventory
Research Psychologist
Research Participant:
Ms. Lescaut’s memories
Researcher’s notes on the actual events (scenes from Manon)
The inn
Mood of the participants during the scene
Accuracy of Ms. Lescaut’s memory
Evidence from music
Evidence from lyrics
The coach and the shadowy road
Mood of the participants during the scene
Accuracy of Ms. Lescaut’s memory
Evidence from music
Evidence from lyrics
Des Grieux’s letter
Mood of the participants during the scene
Accuracy of Ms. Lescaut’s memory
Evidence from music
Evidence from lyrics
The little table
Mood of the participants during the scene
Accuracy of Ms. Lescaut’s memory
Evidence from music
Evidence from lyrics
40
THE MET: LIVE IN HD
MANON
CLASSROOM ACTIVITY
The Seven Sins of Memory
Draw a line between the “sin” and its definition & example
MEMORY SIN
DEFINITION
EXAMPLE
Absent-mindedness
a memory fades over time
“I can’t remember the color
of the house I used to live in”
Bias
inability to retrieve a memory that
might be available under other
circumstances
“Wait, I know that. It’s on the
tip of my tongue.”
Blocking
having unintended, unwanted,
unpleasant memories
Misattribution
remembering information correctly,
but mistaking where/who the
information came from
Persistence
new information or experiences
change the way something is
remembered
Suggestibility
failure to remember something
because too little attention was paid
at the time of the event
“Where did I put my keys?”
Transience
unintentionally revising a memory
based on one’s current feelings
“Sure we were poor, but we
were happy!”
Sometimes follows a very
bad experience like an
accident, a terrible fire, a
war.
“Joe told me that.” – “What?!
I told you that!”
[see “The Bugs and Ariel
Experiment”]
Do you think Manon’s recollection indicates
any of these problems? Which one(s)? Why?
Did Massenet, Meilhac, and Gille convey a realistic
picture of the way memory works? Why?
41
THE MET: LIVE IN HD
MANON
CLASSROOM ACTIVITY
The Bugs and Ariel Experiment
In 2002, psychology researchers ran an experiment to explore how memories change through
“suggestibility.” Xey wanted to see if people could be influenced to remember something that
never could have happened.
Xey gathered a group of college students who said it was “relatively unlikely” that, as
children, they had ever shaken hands with a costumed character at a theme park. Xen they
divided the group in three. Each subgroup reads a different advertisement:
~ P] PSeTacXbT\T]c dbX]V Pdc^QX^VaP_WXRP[ [P]VdPVT |6^ QPRZ c^ h^da RWX[SW^^S P]S
remember the magic. Remember when…”): Xis ad suggests that every child who goes to
Disneyland gets to meet Ariel, from e Little Mermaid—even though the movie had not yet
been made when these college students were kids.
~ PSXöTaT]c|Pdc^QX^VaP_WXRP[}PS)ĭXbPSbdVVTbcbcWPccWThWPSbWPZT]WP]SbfXcW1dVb
Bunny during a visit to Disneyland—even though Bugs Bunny is not a Disney character.
~ P]PSeTacXbT\T]cU^a3Xb]Th[P]ScWPc\T]cX^]bP]TfaXSTQdcSXS]^cdbTPdc^QX^VaP_Wical language
Remember: All of these students began the study saying it was “relatively unlikely” that
they had ever shaken hands with a costumed character at a theme park.
Remember: None of these students could possibly have met either Bugs or Ariel as a child
visiting Disneyland.
Even so, in a follow-up survey,
~ %^UcWT_T^_[TfW^aTPScWT1dVb1d]]hPSbPXScWThb_TRXRP[[haT\T\QTaTSbWPZX]V
hands with Bugs at Disneyland
~ &^UcWT_T^_[TfW^aTPScWT0aXT[PSbPXScWThb_TRXRP[[haT\T\QTaTS\TTcX]V0aXT[Pc
Disneyland
Xe researchers concluded that the autobiographical language (“Remember when you…”)
in the advertisements caused some of these college students to believe they had experienced
something that never could have happened. Xe ads changed their memories of their own
pasts. Xat’s suggestibility!
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